Historical Context
McCarthyism and American Life
The mid-1950s marked the peak of America's "Red Scare," a widespread fear of Communism that culminated in the House Un-American Activities hearings, spearheaded by Senator Joseph McCarthy, a Republican from Wisconsin. In 1950, McCarthy informed President Harry Truman that the State Department was filled with Communists and their sympathizers. He also suspected that numerous Communists were employed in fields capable of swaying public opinion, such as the film and television industries. Over the ensuing years, McCarthy embarked on what was often termed a "witch hunt" to demonstrate the extent of Communist infiltration in American society. These hearings became popular televised events where he and others engaged in "Red-Baiting" the accused. Many entertainers and writers found themselves "blacklisted" (denied employment) for their minor Communist ties or for refusing to cooperate with what they perceived as McCarthy's unconstitutional tactics. The Soviet Union's 1956 invasion of Hungary further fueled McCarthy's fervor. McCarthy passed away in 1957, but not before being formally censured by the United States Senate for his hearings on supposed subversion within the U.S. Army.
Arthur Miller's The Crucible (1953) and Visit to a Small Planet both critique, albeit with a more comedic approach, the prevailing fear of Communism. During his newscast about the impending conflict with the Soviet Union, Roger Spelding warns, "[Soviet Premier] Nikita Krushchev and his gang" that "Mother-and-Father-America are ready." General Powers suspects Kreton of being an "alien spy" sent to the U.S. to "reconnoiter preparatory to invasion"; his suspicion of Kreton's origins serves as a metaphor for the red-baiting that took place during the McCarthy hearings. The paranoia among the characters, triggered by Kreton's visit, mirrors the widespread fear of a Communist invasion in 1950s America, which Kreton describes as "the wonderfully primitive assumption that all strangers are hostile."
Nuclear Weapons and Warfare
While nuclear power is now integrated into modern American life, this wasn't always the case. The first electric power generated from atomic energy was produced in Idaho in 1951, and the U.S. detonated its first hydrogen bomb at Eniwetok Atoll in the Pacific in 1952. At that time, nuclear power was unfamiliar and frightening to many Americans. However, atomic power was first utilized in the United States in Schenectady, New York, in 1955. Increasing concern over which countries had the knowledge and resources to create "the bomb" became a frequent topic for newscasters, writers, and citizens alike. Underground "bomb shelters" were also marketed to American homeowners wanting to protect themselves from the threat of a potential atomic attack.
Visit to a Small Planet highlights the increasing American anxiety about the potential for nuclear conflict. When Kreton successfully initiates a global war, General Powers cautions him, noting that the Russians "got the bomb, too." Kreton's response, "Oh, I hope so!" reveals his view of nuclear warfare as "exciting" and something to be thrilled about, which sharply contrasts with the fear surrounding such an event in the 1950s.
This fear is further emphasized by how Kreton instigates the war: he causes every rifle in the world to float momentarily, a prank that prompts the two superpowers to gear up for conflict. The notion that a war could begin over such a "minor" incident mirrors the widespread anxiety about "the button," which many Americans imagined could be pressed by a deranged foreign leader for a trivial reason. The underlying fear was that the lives of millions could be determined by the decisions of just one or two individuals.
Style and Technique
Satire
"Satire" refers to any artistic creation that employs ridicule, humor, and wit to critique and inspire change in human behavior or societal institutions. Satirical elements can...
(This entire section contains 733 words.)
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be found in works ranging from Shakespeare'sMeasure for Measure to editorial cartoons in newspapers. Gore Vidal is renowned for his satirical writing, and Visit to a Small Planet solidifies this reputation. In the play, Kreton, an alien visitor, disrupts a middle-class home in Virginia, prompting the characters to reveal their anxieties and frustrations with their own lives. The play humorously explores contemporary themes such as war, the fear of "foreign" invasions, and sexual attitudes. Through characters like General Powers, Vidal mocks military bureaucracy and paranoia, critiques the impact of television on American life through Roger Spelding, and highlights the irrational and "primitive" impulses that often drive human behavior. By presenting Kreton, an alien unfamiliar with American customs, Vidal offers audiences an "objective look" at our society and attitudes, providing commentary on how peculiar—or even absurd—these ideas and attitudes can be.
Setting
Instead of creating a narrative about aliens on another planet, Vidal presents a scenario in which we appear "alien" to an extraterrestrial visitor. To achieve this, he sets the play in a typical middle-class home, giving Kreton, the alien, a glimpse into an "average" American family preoccupied with television, college, sex, marriage, and patriotism. This setting underscores how peculiar many Americans might seem to a "visitor" unfamiliar with our peculiarities, values, and daily life.
Stereotype
Vidal's satire prominently targets the United States military, and by extension, the American government, especially in their approach to any form of alien or foreign life. In drama, a "stereotype" character is an exaggerated portrayal of a certain type, like the love-struck poet, the disillusioned teenager, or the awkward nerd with taped-up glasses. General Powers embodies the stereotype of an American military commander, crafted by Vidal with various characteristics. The play opens with him griping to Roger Spelding about being tasked with investigating Kreton's spaceship arrival: "Strat-Air tosses it to Major General Spotty McClelland (he's Com Air Int. now) who lobs it straight at me so by the time I get back from luncheon I find I've been TD'd C.O.S. Priority 1-A the hell and bloody UFO deal dumped right in my lap." His heavy use of acronyms and jargon-laden dialogue mocks military language. The stereotype is further emphasized by the General's intense fear and suspicion of anything foreign. Initially, he suspects Kreton of being "a spy sent here by an alien race," and only later accepts Kreton is from another planet. However, he first informs Kreton that the Pentagon has "classified him as a weapon" due to his ability to create force fields that can "put radar out of business." The General's failure to see Kreton as anything other than a potential weapon against U.S. enemies highlights his stereotype as a narrow-minded military figure.
Most other characters, except Ellen, also represent stereotypes to some extent. Roger is a classic broadcaster, more focused on the next "big story" that could boost his career than on his family's well-being. Similarly, his wife, Reba, is preoccupied with their family's public image and how neighbors perceive them (she worries about Kreton trampling her garden upon landing) rather than any real danger to their lives. Reba exemplifies the unrealistic 1950s housewife ideal—much like June Cleaver from the Leave It to Beaver TV series—a woman who cooks, cleans, and gardens while always looking perfectly composed. Although Vidal aligns more with Conrad's views than those of other characters, Conrad is still the target of jokes about unmotivated young men who half-heartedly embrace pacifism.
Black Humor
"Black humor" involves comedy crafted from topics not typically considered suitable for laughter. For instance, although Visit to a Small Planet is a comedic work, its plot revolves around the looming threat of nuclear war and the complete annihilation of the world for one individual's entertainment. While this might seem like an unusual theme for humor, Vidal employs the characters' responses to this scenario to critique contemporary views on conflict and aggression. Vidal's play suggests that an impartial visitor to our country might find many of our beliefs and actions absurd and, consequently, humorous. By featuring a "typical American family," Vidal also holds a mirror to the audience, allowing them to reflect on how ridiculous their behavior might be in a similar context.
Compare and Contrast
1950s: The American fear of Communism escalates, fueled by the U.S.S.R.'s 30-year alliance with Communist China in 1950, the invasion of South Korea by North Korea in 1950, the enactment of the McCarran Act imposing strict limitations on allowing Communists or those affiliated with totalitarian organizations into the United States, and the mid-decade McCarthy hearings aimed at exposing Communist infiltration across American society.
Today: Communism no longer holds significant global influence. The former Soviet Communist empire has fragmented into smaller nations, each with its own government. The Communist regime in East Germany dissolved with the reunification of East and West Germany and the fall of the Berlin Wall. China remains the only major country still adhering to Communist ideologies.
1950s: Nuclear power emerges as a significant global and national issue; the United States tests the Hydrogen bomb in 1952, and atomic energy is first harnessed for electricity in 1955.
Today: Although the threat of nuclear catastrophe has diminished with the collapse of the Soviet Union, many politicians and leaders continue to advocate for increased disarmament. Nuclear power has become more integrated into American life, despite the 1979 Three Mile Island scare in Pennsylvania and the catastrophic 1986 Chernobyl disaster in the Soviet Union, which led to the evacuation of 133,000 people and widespread fallout across Europe.
1950s: Science fiction gains popularity as an art form, although often critically overlooked. This interest is initially sparked by Orson Welles's 1938 radio adaptation of H.G. Wells's The War of the Worlds, which incited public panic, and continues with Ray Bradbury's successful collection of stories, The Martian Chronicles, reflecting American fascination with extraterrestrial life.
Today: Science fiction is now a well-established genre for many authors and filmmakers. Writers like the late Robert A. Heinlein and Arthur C. Clarke enjoy widespread popularity, while films such as E.T., the Extra-Terrestrial (1982) and the re-release of the Star Wars trilogy set box-office records. The X-Files, a TV series about FBI agents investigating alien phenomena and other mysteries, becomes a hit show, ironically tapping into the paranoia and government conspiracy themes prominent during the red-baiting 1950s.
1950s: Television becomes a pivotal influence in American political and social life. By 1955, there are 33.5 million TV sets in American homes, and in 1957, NBC airs the first videotaped national broadcast featuring the Eisenhower/Nixon inauguration.
Today: By 1995, American homes have 95.9 million television sets. Cable TV and satellite dishes offer a broader range of services, programming choices, and global news access. The American public increasingly demands immediate access to information, with live events like the O.J. Simpson murder trial being watched by millions worldwide.
Adaptations
Visit to a Small Planet was turned into a movie by Edmund Beloin and Henry Garson, featuring Jerry Lewis as Kreton. It was released by Paramount Pictures in 1960 and is available on video.
Bibliography
Further Reading
Contemporary Literary Criticism, Gale (Detroit), 1985, pages
402-12.
This critical overview offers insights into many of Vidal's works, discussing
his background and his contributions across various genres.
Pemberton, William E. "Gore Vidal," in Magill's Survey of American
Literature, Volume 6, Marshall Cavendish, pages 1998-2008.
This entry provides a comprehensive review of Vidal's career, offering critical
analysis of his major literary works.
Sources
Atkinson, Brooks. Review of Visit to a Small Planet in the New York Times, February 8, 1957, page 18.
Salzman, Jack, editor. "Gore Vidal," in The Cambridge Handbook of American Literature, Cambridge University Press, page 248.
Thompson, Howard. Review of Visit to a Small Planet in the New York Times, April 14, 1960, page 34.